Senior Year 10: Fallen Angel
by Wild Pikachu
Summary: On Christmas Eve, the world of Popular is turned upside-down when a spirit comes to Sam with a "unique, once-in-a-lifetime, take-it-or-leave-it, absolutely-not-to-be-repeated" offer.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

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**Guest Cast:**  
Clarence: Mike Damus

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**Formatting:** The main differences between the way the episodes are presented here and true script format are that on this website, everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are ©1999-2001 Touchstone Television, et al. For what it's worth, original material is ©2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

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**POPULAR: SENIOR YEAR**

**FALLEN ANGEL**

TEASER

FADE IN:

EST. A SHOPPING MALL - AFTERNOON

SUPER: "Christmas Eve"

One of the area mega-malls, complete with packed parking lots.

DISSOLVE TO:

INT. SHOPPING MALL

Which is also packed.

CUT TO:

INT. A CHRISTMAS SHOP

Mike and Jane are looking at the displays of ornaments and  
other Christmas-y things. Meanwhile, Brooke and Harrison walk  
down another aisle, hand in hand, surrounded by Christmas  
cards.

Brooke breaks away, picks up a card and shows it to Harrison.

BROOKE  
Isn't this sweet?

HARRISON  
Brooke...I have a confession to  
make.

She puts the card away and faces him solemnly.

HARRISON (CONT'D)  
I'm really...not much of a card  
person.

BROOKE  
(echoing)  
You're not a card person.

HARRISON  
You know that commercial where the  
guy picks up the card next to the  
cash register?

BROOKE  
You're NOT the guy who picks up  
the card next to the cash  
register...

HARRISON  
Actually, I aspire to be that guy.

Brooke, playing along, shrugs in mock fatalism.

BROOKE  
I don't know, Harrison. I'm not  
sure I can be with a guy who's not  
a card person.

Before he can think of a comeback, she sidles up next to him  
suggestively.

BROOKE (CONT'D)  
(coyly)  
But, you know, you COULD try to  
convince me...

HARRISON  
I swear, sometimes you're worse  
than Sam—

The words are out before he can stop to think, and the playful  
mood evaporates instantly.

HARRISON (CONT'D)  
Sorry.

BROOKE  
We can't just...pretend you  
weren't with Sam.

There is a long silence, as they continue walking down the  
card aisle.

HARRISON  
How did the thing go? I didn't  
hear...

Brooke shakes her head mutely.

HARRISON (CONT'D)  
I thought you guys were going to  
talk to her.

BROOKE  
Carmen and Natalie went over there  
yesterday.

The silence stretches out again.

HARRISON  
And?

BROOKE  
She started screaming and threw  
them out.

HARRISON  
What about Lily? Why didn't she  
go?

BROOKE  
We all talked about it, and we  
decided...you remember what Mr.  
Osbourne was saying, about lines  
of communication? Lily's the only  
one left she'll listen to. She's  
our last resort.

By this time they have worked their way to the front of the  
store, where Mike and Jane wander over to meet them.

MIKE  
How are you guys doing?

BROOKE  
I think we got two good minutes  
before Sam snuck into the  
conversation.

Meanwhile, Harrison is looking at the display of ornaments.

HARRISON  
Hey, that looks kind of  
familiar...

He reaches out and teases a green translucent ball with an  
angel inside. Jane leans in to take a closer look.

JANE  
Oh, we used to have one like that.  
It was blue, though.

BROOKE  
What happened to it?

Jane looks away for a long moment.

JANE  
It was Sam's. From her dad. I  
guess she took it with her.

With that, the decidedly un-holiday-ish gloom around the group  
deepens.

DISSOLVE TO:

INT. SAM'S APARTMENT - EVENING

A sparse, foot-tall tree sits on the table, framed by the  
window and the fading light beyond.

Sam walks into the tiny kitchen area, opens the refrigerator  
and pulls out a beer. Meanwhile, Jaycee comes out of the  
bathroom, primping her hair.

JAYCEE  
Hey, thanks for letting me use  
your stuff.

SAM  
Sure, no problem.

JAYCEE  
So, how do I look?

Sam eyes Jaycee's leather-jacket-and-minidress outfit.

SAM  
The way you dance, are you sure  
that's not gonna come off?

Jaycee takes the bottle out of Sam's hand, pops the top and  
takes a swig before handing it back.

JAYCEE  
Don't be silly—of course it's  
going to come off. Eventually.

Sam just laughs, rolling her eyes.

JAYCEE (CONT'D)  
Hey, last chance to come along.

SAM  
(sitting down)  
No...I don't feel like partying.

Jaycee considers that, and turns more serious.

JAYCEE  
You know...no offense or  
anything...I mean, I know your  
home life sucks and all, but...

Sam shakes her head, looking into her beer.

SAM  
I'm sure they've forgotten all  
about me.

JAYCEE  
Yeah, well, I know how that goes.

She reaches into her jacket pocket, pulls out a pill bottle  
and sets it on the table. Sam, in turn, reaches into her bag,  
retrieves a few folded bills, and hands them to Jaycee, then  
pockets the bottle.

SAM  
Thanks.

JAYCEE  
Not a problem.

Sam gets up, beer in hand, and walks Jaycee to the door.

CUT TO:

INT. HALLWAY OUTSIDE SAM'S APARTMENT - CONTINUOUS

Out in the hall, Jaycee turns to face Sam.

JAYCEE  
Okay...if things go, you know, and  
I don't see you tomorrow, Merry  
Christmas.

SAM  
Merry Christmas, Jaycee.

They hug briefly, and then Jaycee is off. Sam takes a look  
back into her apartment, but instead wanders away in the  
opposite direction.

CUT TO:

EXT. THE ROOF OF SAM'S APARTMENT BUILDING - MOMENTS LATER

The door opens, and Sam emerges. She finds a piece of  
equipment with a flat surface, and sits down. Then, setting  
her beer down beside her momentarily, she fishes the pill  
bottle out of her pocket, opens it, and taps out a couple of  
pills. Finally, with her beer in one hand and the pills in  
the other, she sits and stares up at the rapidly darkening  
sky.

INSERT: THE NIGHT SKY

High above, beyond the glow of the city lights, a single point  
of light shines.

CUT TO:

FLASHBACK

EXT. OUTSIDE - NIGHT

BLACK & WHITE

Sam, at about seven years old, perched on her father's lap,  
looking up at the night sky.

YOUNG SAM  
(pointing)  
Look, Daddy! A star!

SAM'S DAD  
You're right, Sammy. Make a wish.

YOUNG SAM  
Star light, star bright, first  
star I see—

CUT TO:

EXT. THE ROOF OF SAM'S APARTMENT BUILDING - CONTINUOUS

SAM  
—tonight, I wish I may, I wish I  
might...

She squeezes her eyes shut.

SAM (CONT'D)  
...I wish, I wish, I WISH—

A noise behind her makes her jump, and when she jerks around  
she sees:

CLARENCE  
(with a loopy grin)  
Hey, your wish—my command.

WHITE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. THE ROOF OF SAM'S APARTMENT BUILDING - CONTINUOUS

Sam jumps up, peering at Clarence warily.

SAM  
Who are you?

CLARENCE  
(slightly hurt)  
You don't remember me.

SAM  
Am I...supposed to?

CLARENCE  
(gesturing at himself)  
Clarence? I was Harrison's  
roommate in the hospital, when he  
had leukemia?

SAM  
Ohhh...  
(pause)  
Wait, hang on—Clarence died.

CLARENCE  
Yeah, well, happens to the best of  
us.

SAM  
(slowly)  
So...you're Clarence...who died...  
a year ago?

CLARENCE  
In the flesh.  
(considers)  
Well, not literally "in the  
flesh", but...you know...

Sam shakes her head.

SAM  
Whoa...I have to tell Jaycee these  
new pills are WAY too strong for  
me.

CLARENCE  
(patiently)  
No, Sam, I'm not a hallucination,  
and you're not high on those  
pills.

SAM  
Really. And how would you know  
that, Mr. Dead Person?

CLARENCE  
Easy.  
(gestures)  
You haven't taken them yet.

Sam looks down and realizes that the pills are, in fact, still  
in her hand.

SAM  
Okay, so what am I hallucinating  
on?

CLARENCE  
(a touch less patiently)  
I'm NOT a hallucination. I'm an  
angel.

SAM  
(cynically)  
An angel. Great—exactly what I  
need.

CLARENCE  
You'd be surprised...

SAM  
Look, fine, I don't if you're a  
hallucination, or an angel, or  
whatever. Just—go away and leave  
me alone.

CLARENCE  
Sorry—this is my job. You said  
the magic words.

SAM  
(grimacing)  
Oh, please don't tell me there are  
magic words.

CLARENCE  
You wished three times on the  
first star on Christmas Eve night.  
Sometimes, that's enough.

SAM  
Well, I don't want anything from  
you, so you can just go back to  
your lamp, or bottle, or whatever.

CLARENCE  
(eyes narrowing)  
I'm not a genie, I'm an angel.  
Try to pay attention, Sam.  
(pause)  
You know, when I was alive...you  
were a lot nicer.

SAM  
(bitterly)  
Yeah, well...a lot's happened.

CLARENCE  
Yeah...  
(pause)  
Anyhoo, I can't go until you've  
heard out my offer.

SAM  
Offer?

CLARENCE  
A unique, once-in-a-lifetime, take  
it-or-leave-it, absolutely-not-to  
be-repeated offer.

He shivers suddenly.

CLARENCE (CONT'D)  
It's getting chilly up here. You  
mind if we talk down in your  
place?

Sam shrugs indifferently.

SAM  
Whatever.

CLARENCE  
Okay, then.

Clarence snaps his fingers, and—

CUT TO:

INT. SAM'S APARTMENT - CONTINUOUS

—they are instantly in Sam's apartment. Sam looks around,  
momentarily startled out of her bad mood.

SAM  
How'd you do that?

CLARENCE  
(sighs)  
Brooke asked that, too. It's just  
an angel thing.

At the mention of Brooke's name, though, Sam's funk returns in  
spades.

SAM  
Brooke?

CLARENCE  
Oh, yeah, she was one of my  
assignments. So was Harrison,  
actually. Now, that was a tough  
one.

SAM  
So, what, do I fill out your quota  
or something?

CLARENCE  
Sam, Sam...you're not listening.  
I'm here to make you an offer.

SAM  
(bored)  
Yeah, you said that already.

CLARENCE  
An opportunity. An opportunity  
that can be as wondrous as you  
decide to make it.

SAM  
(impatiently)  
An opportunity to do WHAT?

Clarence turns very solemn.

CLARENCE  
Step into your past.  
(holds up a finger)  
Change ONE thing. Fix one  
mistake, right one wrong...

He shrugs slightly, and a little of the old Clarence humor  
returns.

CLARENCE (CONT'D)  
...go back and buy a ticket with  
last weeks lotto numbers, if you  
want.

SAM  
(thinking)  
Change the past?

CLARENCE  
That's what I said.

SAM  
I can change...anything?

CLARENCE  
Well—almost anything.

Sam's eyes stray to the photo of her father sitting on the  
dresser.

SAM  
(hopefully)  
My dad?

Clarence tsks regretfully.

CLARENCE  
Death by natural causes—hard to  
beat that. Look at me.

He raises his finger again.

CLARENCE (CONT'D)  
BUT, any act involving free will—  
any act of yours, that is—you can  
change.

Sam takes a couple of aimless steps, as if she's going to  
start pacing.

CLARENCE (CONT'D)  
Hey, you don't have to decide  
right away. Sit down, think about  
it, make a list...

As he's speaking, Sam turns back to him, her face very  
determined and very, very cold, and the sheer intensity of her  
expression makes him trail off.

SAM  
No. I know...EXACTLY...what I'd  
change.

Perhaps sensing that a momentous time has arrived, Clarence  
simply nods, again deadly serious.

CLARENCE  
(gesturing)  
Then step though the door.

Sam's eyes follow Clarence's gesture, to the front door.

SAM  
That's all?

CLARENCE  
(nods)  
That's all.

Sam walks to the door, opens it, and sees only the bare  
hallway. She looks back at Clarence.

SAM  
There's nothing out there.

CLARENCE  
(sagely)  
Take another step.

She turns back to the door, takes a breath, and steps  
through—

CUT TO:

INT. SAM'S BEDROOM - MORNING

Sam's old bedroom, in her old house, where Sam suddenly finds  
herself. Just as she's orienting herself, Jane rushes in.

JANE  
Sam—!

She pulls up short when she sees Sam standing there.

JANE (CONT'D)  
Oh, you're up. Good.

SAM  
Yeah...I'm up.

JANE  
(fretting)  
I don't know what I was thinking,  
planning a cruise... I'm not  
going.

Jane turns and rushes back out, with Sam following on her  
heels.

CUT TO:

INT. JANE'S BEDROOM - CONTINUOUS

Jane's suitcase is sitting on the bed, ready to go. She  
tosses the sweater she's holding on top of it carelessly.

SAM  
Mom...?

Jane turns to face her expectantly. Sam opens her mouth, but  
nothing comes out for a moment. Then she plunges ahead:

SAM (CONT'D)  
Maybe...you shouldn't go.

Jane looks very surprised.

JANE  
What?

SAM  
(temporizing)  
I know, I've really been pushing  
you to go on this cruise, but...  
you know, if you're not ready...I  
don't want you to be miserable.

She walks over to the suitcase, and pulls out the photograph  
of her and her parents—where, of course, she already knew it  
would be.

SAM (CONT'D)  
It's only been two years, Mom. I  
know Dad would want you to move  
on...but not if you're not ready  
to.

JANE  
(wavering)  
Wow...I have to admit, I wasn't  
expecting to hear this from you.

SAM  
Mom...do you trust me?

Jane pauses, and considers.

JANE  
Well, you're smarter than I am.  
You've been telling me that since  
fourth grade.

Sam takes a deep breath.

SAM  
Then I say...don't go.

For a long moment, everything hangs in the balance. Then:

JANE  
You know what? You're absolutely  
right. I'm not going. I'm  
calling the travel agent and  
cancelling the whole thing.

SAM  
(nodding)  
You can always do something else,  
later. Something less...radical.  
One step at a time.

JANE  
I know how much you wanted to have  
the house to yourself for a week.

Sam dismisses that notion with a wave of her hand.

SAM  
We'll do something fun. Just the  
two of us.

JANE  
(nods)  
You got it.  
(clapping her hands)  
Come on. I'm going to go make the  
call. YOU still have to get ready  
for school.

As Jane walks out of the bedroom and down the stairs, Sam just  
stands there, open-mouthed, awestruck at the enormity of what  
she's just done.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. SAM'S BEDROOM - MOMENTS LATER

Sam walks into her room, still slightly dazed.

SAM  
(to herself)  
I did it...I did it! Mom's not  
going on the cruise, she'll never  
meet Mike, they won't fall in  
love...Brooke will NEVER be a part  
of my life!  
(pause)  
Hang on...does this mean I have to  
live the past two and a half years  
all over again?

And suddenly Clarence at her side.

CLARENCE  
Uh-uh, Sam. This was just a quick  
trip.  
(points)  
Just walk through the doorway, and  
you'll be back in the present.

Sam follows his finger, then looks back dubiously.

SAM  
I just CAME through that door.

Clarence doesn't reply, but just looks at her with a pained  
expression on his face.

SAM (CONT'D)  
(sighs)  
All right...

She turns and walks back out through her bedroom door, and—

CUT TO:

INT. SAM'S BEDROOM - CONTINUOUS

—right back into her bedroom. She looks around, annoyed.

SAM  
(looking up)  
Clarence! It didn't work!

When she brings her eyes back down from the ceiling, he is  
standing in front of her.

CLARENCE  
Sure it did.

SAM  
Hello? I'm exactly where I was  
before.

CLARENCE  
Not...exactly.

She looks around the room, and notices that things have subtly  
changed.

SAM  
(thinking)  
Wait a minute...this is my room?  
This is my room! We never moved,  
and this is still my room!  
(laughing)  
I love it!

She runs out of the room, with Clarence following.

CUT TO:

INT. MCPHERSON BATHROOM - MOMENTS LATER

Sam waltzes in, arms spread.

SAM  
Hello, bathroom that I don't share  
with a preening blonde prima  
donna!

She looks around critically.

SAM (CONT'D)  
It's smaller than I remembered.

A thought occurs to her, and she rushes out again.

CUT TO:

INT. MCPHERSON UPSTAIRS HALLWAY - CONTINUOUS

Sam runs into Clarence in the hallway.

SAM  
Hey, Clarence—how come I still  
remember the way everything was?

CLARENCE  
(making a dismissive gesture)  
Oh, don't worry, that's just a  
technicality.

SAM  
(eyes narrowing)  
A technicality? Whoa...is there a  
catch you didn't tell me about?

CLARENCE  
(reassuring)  
There's no catch.

SAM  
You're sure? I didn't just sell  
my soul or something?

CLARENCE  
Sam, that's the OTHER side. This  
was a straight-up offer,  
guaranteed.

SAM  
(pressing)  
No glitches? Nothing that can go  
wrong?

CLARENCE  
No glitches.  
(pause)  
Okay, the change doesn't become  
permanent-permanent until dawn,  
but like I said, that's just a  
technicality.

SAM  
(nodding along)  
And what about my memory? I don't  
wanna look like a spaz because I  
can't remember the last two and a  
half years.

CLARENCE  
By morning, you won't remember  
that things were ever any  
different. In fact, you won't  
even remember I was here. This'll  
just be the way it always was.

SAM  
(murmuring)  
I still can't believe it...

She focuses on him.

SAM (CONT'D)  
Well, since I'm going to forget  
you, I guess I'd better say thanks  
right now. This is...  
(grinning)  
...the best Christmas present I've  
ever gotten.

Curiously, Clarence doesn't react to that.

CLARENCE  
I'll be around tonight to help out  
with things you don't remember  
yet.

SAM  
Okay.  
(pause)  
Oh! What if my mom sees you?

CLARENCE  
(shakes his head)  
You're the only one who can see  
me, or hear me. Oh, and, Sam?

SAM  
Hmm?

CLARENCE  
Try to keep that in mind, okay?  
You know all those movies where  
people talk to ghosts and stuff,  
and everyone else thinks they're  
crazy?

Sam makes an "oh" expression, then nods in understanding,  
clamps her lips shut and flashes him a silent thumbs up.

CUT TO:

INT. MCPHERSON LIVING ROOM - MOMENTS LATER

Sam comes down the stairs.

SAM  
Mom? Mooo-om!

The living room is silent. In the corner is a Christmas tree  
with presents underneath. Sam wanders around, reacquainting  
herself with her old home. Finally she notices that the  
answering machine is blinking, and bends down to press the  
"Play" button.

JANE (V.O.)  
(on the answering machine)  
Hi, honey, it's me, I'm going to  
be working late at the office  
tonight, so just order pizza for  
yourself, okay? And don't open  
any presents without me.

Sam turns to Clarence, who is lounging at the foot of the  
stairs.

SAM  
Okay, A, Mom has an office? And  
B, she's working on Christmas Eve?

CLARENCE  
She works in the real estate  
division of a big corporation  
downtown. And she pretty much  
works all the time now.

SAM  
(confused)  
No...that's not right. Mom was  
never into big business.

CLARENCE  
Well, she is now. For one thing,  
she had to make enough money to  
support the two of you.

Sam immediately turns indignant.

SAM  
What? Mom made plenty of money!

CLARENCE  
(shrugs)  
She felt she needed more.  
Besides, she doesn't have much  
else.

Sam's face darkens.

SAM  
Oh, come on. It's not like Mike's  
the only guy in the world.

She goes and sits on the sofa.

SAM (CONT'D)  
You know what? I'll help Mom find  
a boyfriend. I can do that.  
Someone nice. Someone not named  
McQueen.

She picks up the phone and dials a number from memory.

OPERATOR RECORDING (V.O.)  
(on the phone)  
We're sorry, the number you have  
dialed is not in service. Please  
hang up, and try your call again.

Frowning, Sam hangs up the phone.

CLARENCE  
If you're trying to call Lily,  
you'll find her with her mother.

Sam throws him a disturbed glance, and picks up the phone  
again. After another dial and a couple of rings:

LILY (V.O.)  
(on the phone)  
Hello?

SAM  
Lily! It's Sam.

LILY  
(immediately concerned)  
Are you all right? Did something  
happen?

SAM  
(off-balance)  
Ah...no. I'm—I'm fine.

LILY  
(relieved)  
Good. I was afraid, because of,  
well, you know. Plus, the  
anniversary's coming up...

The expression on Sam's face makes it plain that she has no  
idea what Lily is talking about. So she decides to ignore it:

SAM  
No...I was just calling to see how  
you were.

LILY  
Me? I'm...doing all right.

SAM  
Good, good...how's Josh?

LILY  
(puzzled)  
Josh? Josh who?

Sam's mouth drops open again.

SAM  
Ah...hang on, Lily, okay?

She pulls the phone away and cups her hand over the  
mouthpiece, then looks up at Clarence expectantly.

SAM (CONT'D)  
Lily and Josh?

CLARENCE  
(shaking his head)  
The only reason they ever got  
together was the "experiment" that  
Nicole messed with, remember?  
It's just a random event that  
never happened.

Subdued, Sam takes a moment to think, then brings the phone  
back to her ear.

SAM  
Uh, nevermind, Lily, I was just a  
little mixed-up. So, um, you're  
all right? Christmas plans coming  
along?

LILY  
Yeah, Sam... Hey, you're still  
coming over tomorrow, right?

SAM  
(improvising)  
Oh, ah, yeah, right. Wouldn't  
miss it.

LILY  
Great. Well, Merry Christmas,  
Sam.

SAM  
(flat)  
Merry Christmas.

She hangs up the phone and stands up, trying to think her way  
through the situation, talking half to herself and half to  
Clarence.

SAM (CONT'D)  
Okay...there's no Josh and Lily.  
Okay, I can fix this. They fell  
in love once—I can get them  
together, and they'll fall in love  
again.

CLARENCE  
Ah, I think you're going to have a  
hard time with that, Sam.

SAM  
(annoyed)  
Why?

CLARENCE  
When Josh's mom moved away a few  
months ago, Josh went with her.  
There was no reason for him not  
to.

Sam rubs her hands over her face in frustration.

SAM  
Why didn't you tell me about this?

CLARENCE  
(sadly)  
I could only make you the offer.  
I couldn't control what you did  
with it.

Sam is still trying to think when something else occurs to  
her.

SAM  
Hey, what's this "anniversary"  
Lily was talking about?

Clarence opens his mouth to answer, but before he can, the  
doorbell rings.

Sam turns and walks to the front door, looking through the  
peephole.

INSERT: THE FRONT STOOP - PEEPHOLE POV

A forty-ish man in a dark suit is standing there.

SAM (CONT'D)  
Who is it?

RICHARD (O.S.)  
(through the door)  
It's Richard!

SAM  
(confused again)  
Who?

RICHARD (O.S.)  
Very funny. Open the door and let  
me in.

Sam throws a glance back at Clarence, who is sitting at the  
bottom of the stairs.

CLARENCE  
(quietly)  
I wouldn't do that...

But Sam, making sure the chain is latched, is already opening  
the door—and the moment it is cracked, a hand slams it open,  
snapping the chain and sending Sam stumbling backwards with a  
yelp. Before she can recover, the man rushes through the  
door, catching Sam by the throat and driving her backwards  
until she slams into the wall. There he holds her, leering  
closely at her panic-stricken face.

BLACK OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. MCPHERSON LIVING ROOM - CONTINUOUS

Richard presses up close to Sam, a gleam in his eyes that's  
somewhere between mean and insane, while keeping his hold on  
her throat.

RICHARD  
That wasn't very nice, Sammy,  
trying to keep me out.

Sam is gasping for air and futilely trying to pry his hand  
away. Finally she manages to get a hand up and into his face;  
he responds by slamming her head back against the wall, dazing  
her again.

RICHARD (CONT'D)  
Still a little firebrand, aren't  
you? I think it's time we taught  
you some manners.

He grabs her by the hair and drags her across the room,  
throwing her over the coffee table and onto the sofa. He  
advances on her menacingly, slapping his hands together.

RICHARD (CONT'D)  
I think by the time Jane gets home  
I'll have smacked some sense into  
you.

As he leans over her, she tries to kick him in the groin, but  
only manages to graze his leg. Growling, he backhands her  
across the face as she's trying to squirm her way off the  
sofa.

SAM  
(looking back towards the stairs)  
HELP! CLARENCE!

Startled by the notion of someone else in the house, Richard  
looks up at the stairs himself. He doesn't see anyone; but  
Sam takes advantage of the momentary distraction to grab the  
lamp off of the endtable and smash it over his head, sending  
him tumbling to the floor, unconscious.

As Sam lays on the sofa, gasping and shuddering in shock,  
Clarence comes over to her.

CLARENCE  
I think you should call the  
police.

After a moment, Sam nods dazedly, and reaches for the phone

CUT TO:

EST. MCPHERSON HOUSE - LATER

Two police cars with lights flashing are parked at the curb.

CUT TO:

INT. MCPHERSON LIVING ROOM

One police officer has Richard upright, his hands cuffed  
behind his back, while another has his wallet in his hands.  
Meanwhile, Sam is standing off to the side, still shaken.

POLICE OFFICER #1  
Now, then, Mr...Jenkins, is it?

Richard struggles in the grasp of the second officer.

RICHARD  
(belligerent)  
Get your hands off me! I have a  
right to be here!

POLICE OFFICER #1  
We'll see about that. Miss  
McPherson?

And Clarence is standing—unseen by everyone else—behind Sam.

CLARENCE  
(over Sam's shoulder)  
Psst. Endtable drawer.

SAM  
(glancing back)  
What?

The police officer, of course, thinks she's talking to him.

POLICE OFFICER #1  
I said, do you know this man?

Instead of answering, Sam hurries over to the endtable and  
opens the drawer. Inside she finds a thick, folded packet of  
papers. Without looking at them, she hands them to the  
officer. Richard, meanwhile, has decided to try to placate  
the officers.

RICHARD  
(hastily)  
Look, this is all just a  
misunderstanding. I'm sure we can  
work it out...

POLICE OFFICER #1  
(reading the papers)  
Uh-huh...this is a restraining  
order, prohibiting Richard  
Jenkins—that would be you—from  
approaching within five hundred  
feet of Jane McPherson, or her  
daughter, Samantha.

He takes a pointed look at the distance between Richard and  
Sam.

POLICE OFFICER #1 (CONT'D)  
So...I guess this was just an  
accounting error.

Richard glares past the police officer, at Sam.

RICHARD  
(growling)  
You! You'd better look scared,  
you little bitch! You can't keep  
me away!

POLICE OFFICER #1  
(irritated)  
Now you're making threats in front  
of the police? How dumb ARE you?

He gestures to his companion.

POLICE OFFICER #1 (CONT'D)  
Get him out of here.

As Richard gets escorted out, the officer turns back to Sam  
and hands the papers back to her.

POLICE OFFICER #1 (CONT'D)  
I know tomorrow's Christmas—but  
if you could come down to the  
precinct house and give a  
statement...

SAM  
(numbly)  
Oh...sure...

He reaches out and pats her shoulder reassuringly.

POLICE OFFICER #1  
Don't worry about him, Miss.  
We'll keep him locked up.  
(pause)  
If you'd like, I can stay until  
your mother gets here...?

SAM  
(shaking her head numbly)  
No...it's all right...

POLICE OFFICER #1  
(reluctantly)  
All right. But you stay safe,  
okay?

Sam does her best to nod and even smile a bit. She walks the  
officer to the door, and makes sure it's locked behind him.  
Then, shaking again, she collapses onto the sofa. Clarence  
sits carefully on the armrest.

CLARENCE  
Maybe you should call your mother.

Sam buries her face in her hands.

SAM  
(shakily)  
I can't deal with her.

She looks up at him.

SAM (CONT'D)  
Who WAS that?

CLARENCE  
That...was your mother's ex  
boyfriend.

Sam throws her hands down, frustrated.

SAM  
You're trying to tell me that just  
because she doesn't end up with  
Mike, she starts dating psychos?  
That's not fair!

CLARENCE  
It's—not exactly a direct  
connection, Sam. It's just the  
way it worked out.

Sam gets up suddenly, pacing back and forth in front of the  
sofa and running her hands through her hair.

SAM  
I need to get out of here.

Clarence hops up.

CLARENCE  
Oh, I can handle that. Friendly  
Angel-slash-Travel Guide. Where  
do you want to go?

The thought of instant travel seems to make Sam slightly  
queasy, though.

SAM  
I don't know. Can we just...walk?

Without waiting for an answer, Sam heads in the general  
direction of the front door. Clarence obediently follows, as  
she opens the door of the coat closet and pulls out a jacket.

CLARENCE  
Sure, if you don't mind walking  
down the street talking to the  
empty air.

CUT TO:

EXT. MCPHERSON HOUSE - MOMENTS LATER

The front door opens, and Sam steps out—only to stop short at  
the sight of a shiny compact car sitting in the driveway.  
Clarence appears at her side.

CLARENCE  
Or, you could drive.

Sam pokes a thumb at the car.

SAM  
My car?

CLARENCE  
(nods)  
Sweet, isn't it?

Sam's expression indicates that she's not quite as thrilled  
about it as she might have been before.

CUT TO:

EXT. A SUBURBAN STREET - LATER

Sam's car cruises along the deserted, darkened street.

CUT TO:

INT. SAM'S CAR - MOVING

Sam and Clarence are driving along in silence.

SAM  
Clarence?

CLARENCE  
Yeah?

SAM  
I'm sorry you died.

CLARENCE  
(shrugs)  
Happens to the best of us. But  
look at the radical job I got now.  
And it's for all eternity.

Sam throws him a dubious look.

SAM  
"Radical"?

Clarence does a quick mental calculation.

CLARENCE  
Sorry, wrong decade. You know,  
when your perspective is eternity,  
it can be hard to keep the slang  
straight.

Sam decides to move on.

SAM  
So...you're an angel.

CLARENCE  
Yep. Wings and everything. Well,  
I'm a junior angel—the  
probationary period is five  
thousand years. Then I'll get  
real wings.

Sam lets that digest for a few moments.

SAM  
What's heaven like?

CLARENCE  
(considers)  
It's not bad. Weather's always  
nice. You can eat whatever you  
want.

SAM  
No lie?

CLARENCE  
(reproachfully)  
Angels never lie, Sam. It's  
against the rules.

CUT TO:

EXT. A SHOPPING MALL - LATER

The mall is dark and deserted, the parking lots empty as Sam's  
car passes by.

CUT TO:

INT. SAM'S CAR - MOVING

Sam looks out through the side window at the empty lots.

SAM  
The mall's closed.

CLARENCE  
It's Christmas Eve. Everything's  
closed.

Sam thinks for a moment.

SAM  
Oh—I know what's open. There's a  
Christmas Eve Midnight Movie at  
the multiplex.

Then she treats Clarence to a suspicious glare.

SAM (CONT'D)  
There IS still a Christmas Eve  
Midnight Movie at the multiplex,  
right?

CLARENCE  
(shrugs)  
As far as I know.

DISSOLVE TO:

EXT. THE MULTIPLEX PARKING LOT - MIDNIGHT

There are indeed bunches of cars in the theater's parking lot.  
Sam pulls in and parks her car.

CUT TO:

EXT. THE MULTIPLEX - CONTINUOUS

There are a couple of dozen people milling around the front of  
the theater complex as Sam makes her way through the parking  
lot. She stops, though, when she spots a familiar face:  
George is standing by the theater doors. She is about to  
wave—but then Brooke appears, and as Sam looks on, shocked,  
she wraps her arms around George and kisses him.

Then, from behind her:

CARMEN  
Sickening, isn't it?

Sam spins around to see Carmen, standing there, seemingly the  
same as she ever was.

SAM  
Carm!

Impulsively, she hugs Carmen, who seems a bit overwhelmed by  
the greeting.

CARMEN  
Hey...are you okay?

Sam backs off a little.

SAM  
Sure...fine.

CARMEN  
You sure? I mean, I know you've  
been stressed and all, and it's  
almost been a year since...you  
know.

Sam doesn't know; she's starting to get lost again. But she  
does her best to cover it up.

SAM  
I'm all right, really.

Just then, though, Carmen catches sight of the deepening  
bruise on Sam's cheek, and reaches out for it.

CARMEN  
(shocked)  
Sam! What happened?

SAM  
Oh...um...

She drags the name up from the depths of her memory.

SAM (CONT'D)  
...Richard.

CARMEN  
HE did this to you? When? How?

SAM  
He...got in the house.

CARMEN  
Oh, my God.

Sam takes hold of Carmen's hands reassuringly.

SAM  
It's all right. The police got  
him. He's in jail.

CARMEN  
Well, good. He always gave me the  
creeps.

Then Carmen refocuses her attention over Sam's shoulder. By  
the time Sam turns back around, Nicole has appeared, with  
another jock-type on her arm. They form a group with George  
and Brooke.

CARMEN (CONT'D)  
(sighs)  
The quarterback and the head  
cheerleader. You know, it's  
amazing. Josh Ford quits the  
team, and George Austin steps  
right in. He even inherited the  
girlfriend.  
(shaking her head)  
Some things never change.

Sam just shakes her head in confusion as she watches the  
foursome enter the theater.

SAM  
But—but, George isn't like that!

CARMEN  
Huh?

SAM  
(backtracking)  
Uh, I mean...it doesn't seem like  
George would be like that.

CARMEN  
(laughs)  
Are you kidding? With that  
article you wrote last year, about  
the shallowness of athletes?  
There was enough venom in that to  
drop half the school!

By this time, Sam is completely out-of-sorts again.

SAM  
Ah, well...maybe I was...hasty.

CARMEN  
(curious)  
This isn't like you, Sam. Are you  
sure you're okay?

Sam tries to be reassuring.

SAM  
Oh...yeah.

Carmen makes a move towards the theater, expecting Sam to  
follow. When she doesn't, Carmen stops and looks back.

CARMEN  
Coming? The movie's gonna start.

Sam makes another decision.

SAM  
Um...no. You go on. I think...  
I'm going to see Harrison.

At the mention of Harrison's name, Carmen's expression  
instantly turns to concern again.

CARMEN  
Oh.

SAM  
(puzzled)  
What—you think it's too late?

CARMEN  
(covering)  
No..no. It's just, sometimes I  
worry about you.  
(laughing it off)  
You know me, Miss Worry-wort.

SAM  
You wanna come with?

Carmen smiles, a curiously sad little smile, and shakes her  
head.

CARMEN  
I know you like to be alone when  
you're with Harrison.  
(pause)  
So I'll see you tomorrow, right?  
At Lily's?

SAM  
Yeah...sure.

CARMEN  
Okay.

With that, Carmen turns and heads for the theater, while Sam  
walks back towards her car.

CUT TO:

INT. SAM'S CAR - MOMENTS LATER

Sam gets back into her car, where Clarence is still sitting.  
She looks over at him.

SAM  
I like to be alone when I'm with  
Harrison. Now that's more like  
it.

She starts the car.

SAM (CONT'D)  
If I have Harrison...this'll all  
be worth it.

CUT TO:

EXT. JOHN HOUSE - LATER

Sam's car pulls up to the curb, and Sam climbs out and starts  
up the walk. Even in the darkness, though, she senses that  
something is wrong, and she cuts across the yard to one of the  
front windows, all of which are curtained. Pressing her face  
up next to the glass, she finds a crack in the curtains and  
looks through.

INSERT: THE HOUSE INTERIOR - SAM'S POV

From somewhere within a light is on. Even in the dimness,  
though, Sam can see that the house is completely empty,  
vacant.

For a few long moments Sam just stands there, looking in,  
seemingly paralyzed. Then, finally, with nothing else to do,  
she hikes back across the front yard to her car, where  
Clarence is standing on the sidewalk next to the passenger  
door.

SAM  
All right, why is no one living in  
Harrison's house? Did they move,  
too?

Clarence ponders that silently, apparently unsure of exactly  
how to respond.

SAM (CONT'D)  
Come on! You said angels don't  
lie—so, where is Harrison?  
Don't tell me he's living with  
Mary Cherry, or something totally  
weird like that.

Clarence just shakes his head mutely. But his reticence, the  
strange mood and all of the previous events of the evening are  
finally pushing Sam towards her breaking point.

SAM (CONT'D)  
Fine, then, just do your angel  
thing, and take me to Harrison!

CLARENCE  
Sam, maybe we should talk—

SAM  
(on edge)  
I want to see Harrison NOW!

Finally, Clarence hangs his head, and without any fanfare at  
all, snaps his fingers.

CUT TO:

EXT. A CEMETARY - CONTINUOUS

Clarence and Sam are standing on a low rise, surrounded by  
headstones.

It only takes Sam a moment or two to register her  
surroundings; and she looks back at him, a horrified  
expression sweeping across her face.

SAM  
(choking up)  
No. No, no, NO!

She begins to blindly run away; yet somehow she runs in the  
right direction, for after a few steps she trips over her own  
feet and goes sprawling to the ground—face-to-face with  
Harrison's gravestone.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EXT. THE CEMETARY - CONTINUOUS

Sam, still down on the ground, looks up at Clarence, who is  
now standing a respectful distance away. With tears streaming  
down her face, she finally manages to choke out:

SAM  
Why?

Clarence bows his head, his hands clasped; he looks as if he's  
in mourning himself.

CLARENCE  
(gently)  
Leukemia. Remember? Just like  
me.

Sam keeps shaking her head in denial, seemingly having to  
force her brain to work.

SAM  
But...but...but he DIDN'T die...he  
got better...he went...into  
remission...

Clarence closes his eyes for a moment before going on, picking  
his words carefully.

CLARENCE  
(sadly)  
The only reason he recovered was  
the bone-marrow transplant.

Sam is still just barely hanging on to the ability to think.

SAM  
...from Nicole...

CLARENCE  
Without the relationship between  
you and Brooke...the interaction  
between your circles...there was  
no reason for Nicole to even think  
of being tested.

After several long moments, Sam pulls herself to her feet and  
squares off against Clarence, standing defiantly. She's still  
crying, but now she's angry as well.

SAM  
Okay. I get it.

That gets no reaction from Clarence at all.

SAM (CONT'D)  
I said, I get it! The moral, or  
lesson, or whatever the hell I'm  
supposed to learn! You can't  
change the past, it'd just be  
worse, you shouldn't wish for  
things to be different, you should  
just be happy with what you have—  
I get it, okay? You can change  
everything back now!

Meanwhile, Clarence is shaking his head mournfully.

CLARENCE  
You don't understand.

SAM  
(yelling)  
I just said, I understood! So  
snap your fingers and undo  
everything!

He looks at her with infinite sadness in his eyes.

CLARENCE  
No, Sam, you don't understand.  
It's DONE. I can't undo it. This  
is the way things are, now.

With that pronouncement, Sam begins to slide rapidly back  
towards hysteria, pacing aimlessly.

SAM  
No...no...there has to be...

She remembers something and pounces on it, rounding on him.

SAM (CONT'D)  
You said—you said it wasn't  
permanent until morning. T-that's  
what you said.

Thunder suddenly rolls across the clear night sky, and  
Clarence casts a brief, worried glance upward.

CLARENCE  
(murmuring)  
I think maybe I shouldn't have  
said that.

Sam desperately grasps at the straw she sees.

SAM  
There—there has to be some way to  
fix it before then, right?  
Right?

CLARENCE  
Sam, I wasn't lying. I can't  
change it back.

But something in the way he says that makes her stop and  
think.

SAM  
YOU can't change it—can I change  
it? Clarence? Can I change it  
back?

He doesn't answer, but the look he gives her makes her think  
that she's on the right track.

SAM (CONT'D)  
(pleading)  
How? Tell me how...

The thunder rumbles again, louder and longer this time, and  
Clarence suddenly becomes very nervous.

CLARENCE  
Uh-oh...I'm definitely in trouble.

He holds his hands out in front of him, and seems surprised to  
see himself fading away.

CLARENCE (CONT'D)  
(looking up at Sam)  
I think I have to go now.

SAM  
(shrieking)  
NO!

She lunges at him, arms outstretched to grab him, but he has  
faded completely away before she gets there, and she goes  
tumbling to the ground. Sprawled out on the grass, she looks  
skyward, sobbing again.

SAM (CONT'D)  
NO! CLARENCE! COME BACK!  
COME BACK!

Finally she collapses completely, pounding her fists weakly on  
the ground in abject frustration and anguish.

DISSOLVE TO:

EXT. THE CEMETARY - EARLY MORNING

The cemetary is bathed in the dimness of the pre-dawn light;  
to the east is a gathering orange glow where the sun will soon  
rise. Sam is curled up against Harrison's headstone, her arms  
draped over the granite, utterly defeated. Tears are still  
flowing freely down her cheeks, and her body is wracked by  
great, heaving sobs.

SAM  
(choking)  
...I'm sorry...I'm so sorry...I  
never meant to hurt you, not  
ever...I don't care...I don't care  
if you're with Brooke...I just  
can't...I can't...live...not  
without you...

She lifts her eyes to the sky, where the sun is about to crack  
the horizon, and fresh desperation overtakes her.

SAM (CONT'D)  
(plaintively)  
...Nooooo...no no no no no...  
please...someone...help me...

As the glow on the horizon grows ever brighter, she wraps her  
arms around the headstone tightly, rocking desperately and  
squeezing her eyes shut against the approaching dawn.

SAM (CONT'D)  
...oh, God, please...make it go  
away...I'm sorry...I'm sorry I  
wished...I take it back...I take  
it back, I take it back, I TAKE IT  
BACK—

CUT TO:

INT. SAM'S APARTMENT - MORNING

—and Sam jerks upright in her own bed, screaming.

For several moments she can only sit there in bed, heaving  
uncontrollably. At last, she slowly swings her legs out and  
onto the floor.

SAM  
(wearily)  
Ohh...whoa...

Her cell phone rings, making her jump. Shakily, she reaches  
out to the bedside table and picks up the phone, opening it  
and putting it to her ear.

SAM (CONT'D)  
Hello?

CLARENCE (V.O.)  
(on the phone)  
I'm glad you were able to fix  
things, Sam. I really was rooting  
for you.

The phone falls to the floor as Sam is overcome by a serious  
case of the shakes.

CUT TO:

INT. MCQUEEN LIVING ROOM - MORNING

The coffee table in the living room is piled high with wads of  
discarded wrapping paper. Harrison and his mother are there,  
sitting with Brooke on the sofa. While Jane tears the  
wrapping off of one of her presents, Brooke stretches and  
stands up.

BROOKE  
Can I get you more coffee, Mrs.  
John?

Harrison's mother smiles and covers the mug she's holding.

MRS. JOHN  
I'm fine, Brooke.

As Brooke steps over people's legs and clutter and heads for  
the kitchen, Jane opens her present—and pulls out an  
envelope. Giving Mike a curious glance, she opens it and  
takes out the paper inside.

JANE  
(reading)  
It's a gift certificate for two  
for a week-long retreat at the  
Palm Springs Desert Resort and  
Spa.

MRS. JOHN  
Oh, how thoughtful.  
(to Mike)  
That's for the two of you?

Mike holds out his hands in protest.

MIKE  
I'm not really into mud baths.  
(to Jane)  
I thought you could take Brooke.

JANE  
(calling)  
Brooke?

BROOKE (O.S.)  
(from the kitchen)  
It's a date!

The doorbell rings, and everyone's eyes turn to the front  
door. Jane gets up.

JANE  
I'll get it.

Jane walks to the door, takes a look through the peephole, and  
then gives everyone a quizzical glance before opening the  
door.

CUT TO:

EXT. MCQUEEN HOUSE - CONTINUOUS

The door opens, and Jane looks out, but there is no one  
outside. Mike appears at her shoulder a moment later.

MIKE  
Honey?

Jane looks down, and spots a tiny, plain cardboard box sitting  
on the stoop. She bends down, picks it up, and opens it—and,  
with a gasp, lifts out a blue-tinted ornamental ball with an  
angel inside.

JANE  
Sam...

She looks up and outward urgently.

JANE (CONT'D)  
Sam? SAM!

Jane runs out onto the walk, looking left and right  
frantically.

But the street is empty.

DISSOLVE TO:

EXT. A CEMETARY - DAY

Sam is walking pensively through the cemetary, carrying a  
small bouquet of flowers with her. Finally she stops at a  
particular grave.

INSERT: CLARENCE'S HEADSTONE

as Sam lays the flowers at its base.

She rests her hand on the stone for a moment, perhaps saying a  
prayer, before walking softly away.

FADE TO BLACK.

END OF ACT FOUR

**THE END**


End file.
